![]() ![]() ![]() “That’s why the show is called Shedding,” she said. ![]() “It affects the coloration, the depth, the texture, the line, the intent.” “The River,” 2022Ī viewer must take time away from each work to meditate, if only for a beat, before returning again to peel back those layers. “The painting couldn’t have happened without that 90% under it,” she explained. Stone said sometimes she finishes a painting only to cover most of it with something new. The same motif is later echoed in the serpentine titular piece Shedding (2023) and the moonlit landscape of The River (2022). Motifs emerge, like flat, black silhouettes in the sultry figure of Noir (2020) and rhythmic circles on Redacted (2022). Hues oscillate from chartreuse accents on The Mangroves (2023) to a 2D bust built from layered paint of subtle beige tones in Caerus (2023). “Even if you can complete a painting or a poem or a story in a day,” Stone says, “it requires layers and layers of thought and layers and layers of review to find the true depth of the thing you’re working on.” (Courtesy of Allouche Gallery/Sharon Stone) ![]()
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